Oscars Present 17 Awards for Technical and Scientific Achievement

The Academy of Motion Picture Arts and Sciences has unveiled its awards for 17 different awards for scientific and technical achievement in film.

AMPAS will present a collection of certificates and plaques to the Academy to 55 different individuals and two companies for their achievements, which have contributed “significant value to the filmmaking process”. Technical and scientific awards do not need to be introduced within a certain period of time, unlike other Academy awards presented this year.

Nia DaCosta, director of Little Woods, will also present the awards at a virtual ceremony on Saturday, February 13th. The ceremony will be available for viewing on the Oscars website starting at 1:00 p.m. PT that day.

The presentation will also include a special segment hosted by Kathleen Kennedy, winner of the Academy’s Irving G. Thalberg Memorial Prize. This segment will highlight the innovative achievements of women working in the field of science and technology of film production.

“In a year of turmoil, some things remain the same: extremely smart people around the world are striving to push film technology to new heights, and the Academy is privileged to be able to recognize and celebrate their achievements,” said Doug Robble, chairman of the Scientific and Scientific Committee. technical awards, the statement said. “After a long period of investigation, the committee, made up of a diverse group of industry experts, has identified 17 different technical achievements that are absolutely worthy of respect. We congratulate all the inventors for their contribution to our art form. “

Below is a complete list of winners:


To Masato Nakashima,, Koichi Ueno,, Junji Sakuda and Junro Yonemitsu to develop EIZO auto-calibrating SDR monitors that include a built-in sensor, digital equivalent for uniformity, and an accompanying SDK.

EIZO’s auto-calibrating SDR monitors increase artists’ confidence in the accuracy of image reproduction throughout the site and reduce interruptions in the creative process and production workflows. They have become indispensable for very large cartoons and effects facilities.

To Alejandro Arango,, Gary Martinez,, Robert Derry and Glenn Derry for system design, ergonomics, engineering and workflow integration of the widely accepted head-mounted Technoprops camera system.

The head-mounted Technoprops camera system, with its modular and production-proven construction, maintains consistent facial alignment with improved actor comfort, while allowing quick reconfiguration and minimizing downtime. This system allows repetitive, accurate and unobstructed capture of the actor’s facial movements.

To Babak Beheshti and Scott Robittle for the development of the compact, stand-alone, phase-accurate genlock synchronization and recording module, and up to Ian Kelly and Dejan Momchilovich for technical guidance and integration of the standard deviation head mounting system workflow.

The standard deviation camera system provides a stable method for accurately synchronizing the camera with the home clock. Combined with practical usability innovations, it allows the use of multiple head-mounted camera systems for high capture volumes, resulting in acceptance by multiple film productions.

To Sven Uup and Carsten Bentin for basic development, Attila T. Afra to develop the characteristics of the film and Manfred Ernst and Ingo Wald for early research and technical guidance, from the IntelĀ® Embree Ray Tracing Library.

Over the past decade, the Intel Embree Ray Tracing Library has provided a highly efficient, industry-leading processor-based beam and geometry intersection framework through well-designed open source code backed by a comprehensive set of scientific publications. It has become an indispensable resource for showing movies.

To Hailey iben,, Mark Mayer,, John Anderson and Andrew Whitkin for the Taz hair simulation system.

Taz is a robust, predictable and effective system for hair simulation with mass springs with new formulations for hair shape, bending springs and hair-to-hair collisions. It has enabled Pixar artists to revive animated digital characters with a wide variety of stylized hair, from straight to wavy to curly.

To Stephen Bowline for ILM HairCraft Dynamics System.

The ILM HairCraft dynamic dynamics system has a physically stable hair dynamics model that simulates hair by embedding curves in volumes with tetrahedral grids. Its unique spring-based management system has helped ILM artists create a wide range of photorealistic digital characters and dual digital stunts.

To Kelly Ward Hamel,, Alec McAdams,, Toby Jones,, Marion Simmons and Andy Milne for the Walt Disney Animation Studios hair simulation system.

The WDAS hair simulation system is a robust, predictable, fast and highly art-oriented system built on the mathematics of discrete elastic rods. This gave Disney artists the flexibility to manipulate hair in hyper-realistic ways to create the strong silhouettes needed to animate characters, and allowed for a wide range of intricate hairstyles in animated feature films.

To Niall Ryan,, Christoph Sprenger and Gilles It presses for the Synapse hair simulation system.

The Synapse hair simulation system is a robust, predictable and highly scalable position-based dynamic system with a new crucial inverse parameter. He helped Weta Digital artists create a wide range of photorealistic digital characters and digital stunt couples.

To Jens-Jorn Stockholm and Ole Mosman for their innovative development of miniature high-performance DPA microphones.

The more modern DPA 4061 and 4071 microphones illustrate creative design, precise production and meticulous quality control, resulting in consistent performance and exceptional audio recording in cinema.

To Chris Countryman and Omer T. Inan for their design of Countryman Associates sub-miniature high-performance lavender microphones.

Created by the company’s founder Carl Countryman (1946-2006), these meticulously crafted micromini microphones are easily disguised. Their filters for spectral response shaping, cable installation and capsule design contribute to their widespread adoption by sound mixers for film production.

To Fredrik Limsatter,, Bjorn Ridal and Matthias Lagergren for the design, architecture and engineering of ftrack Studio.

An extensible, efficient and intuitive post-production tracking software system, ftrack Studio has allowed small and large studios to effectively plan and manage complex digital animations and visual effects of movie films.

To Don Parker for the product vision and design, Matt Doe for the main architecture and Isaac Reuben,, Colin Withers and Neil Brand for the basic engineering of the Shotgun post-production tracking system.

An extensible, web-based, flexible and scalable system, Shotgun enables the efficient management of extremely complex visual effects and animation workflows in post-production. By facilitating deep integration in a wide variety of facilities, Shotgun has successfully produced the tracking of complex production data on large-scale films.


To Dr. Zvi Reznich,, Meir feather,, Guy Dorman and Ron Yogev for the development of the Amimon wireless chipset, which allows irrevocable, high-quality built-in, encrypted digital video surveillance with subframe latency.

Utilizing new extensions to digital data transmission and compression algorithms and data prioritization based on error rates, the Amimon chipset supports the creation of systems with virtually unlimited camera movement, expanding creative freedom during shooting.

To Nikolaas Verhem,, Greg Smockler and Ilya Isenin for the development of the robust Teradek Bolt wireless video transmission system for remote monitoring.

The Teradek Bolt system features a frame-synchronized rear channel for real-time camera control, a fault-tolerant time-code channel and integrated production metadata, which has led to its widespread adoption in film production.

To Alexey Lukin and Team of Mathematicians,, Software engineers,, Sound designers and IZotope, Inc. product specialists for the development of an RX audio processing system.

Featuring machine-enhanced spectral processing algorithms, the iZotope RX system is widely preferred by sound film professionals for sound repair and enhancement.

To Jeff Bloom,, Guy McNally and Nick Rose for the original concept and engineering of the Wordfit system for automatic ADR synchronization and up to John Elwood and Jonathan Newland for engineering and development of VocALign and Revoice Pro.

Wordfit revolutionizes the ADR process after synchronization, eliminating the need for manual editing to perfect lip synchronization. VocALign and Revoice Pro are software tools that together give sound editors unprecedented control over the final performance in the replaced dialog. Used for many years, these technologies continue to predominate in the creation and seamless integration of substitute dialogue tracks in movies.

To Sanken Microphone Limited to the original innovation and continuous improvement of the Sanken COS-11 series of miniature laval microphones.

Sanken’s early engineering work on microphone orientation and miniaturization inspired the current generation of Lavalier microphones. The exceptional sound quality and durability of the COS-11 series have made them the predominant laval microphones used in sound recording in film production.